Here, you'll not only find articles on the many facets of transmedia storytelling, but also articles exploring the creative and technical achievements of individual platforms. If you would like to know more about my approach to curating this topic, then please follow the title link to Scoop.it's Lord of Curation Series. I really enjoy your support and hope you find the articles that I share as interesting and useful as I do.

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A 2014 Nielsen Digital Consumer Report said that 84 percent of U.S. smartphone and tablet owners watch television with a second screen in hand. Second screen action is definitely something networks should explore and figure out how to engage viewers to their content. Question is, how do networks and other media companies build interactive web platforms for today’s viewers?

Second screen action often happens on social channels that networks don’t own, and therefore can’t control, but they do have the ability to capture and amplify what’s happening.

Fishman suggests that one way media companies could approach the second screen is to create original and exclusive digital video content that stands apart from linear broadcast programming. That means focusing strongly on transmedia storytelling. Media concepts no longer contain only tv-programmes, you have to produce a multiplatform experience from the beginning.

Simon Staffans: "This is the first article in an in-depth series focusing on the Nordics. We’ll take you behind the scenes and talk to the people who know what’s up, where the Nordics are heading and why you need to keep tabs on what’s happening in the lands of the North."

Sam Thielman: "What looks like an entertainment company, spends like an entertainment company and programs like an entertainment company? It's Hasbro, a toymaker. Hasbro makes not just toys but also hugely popular intellectual property, which for decades has been key to its bottom line."

What is good news for fans of great interactive content is that AMC chose to augment the TV story with some brilliantly thought out Storyworld content – they didn’t fluff it (as so many do) apart from the whole GEO issue… Thanks AMC!

Aleszu Bajak: "Last October, [Laura] Amico coordinated the production of “Chasing Bayla,” an immersive story about one man’s quest to save a whale ensnared in fishing nets. The story features over 6,000 words juxtaposed with multiple photographs, videos, audio recordings, and animated illustrations. Amico recently spoke about the project at The Nieman Foundation for Journalism at Harvard."

Fred McConnell: "Ten years is a long time on the internet, especially when 300 minutes of video are uploaded to your site every minute. On YouTube’s 10th birthday, we trace the growth and growing pains of online video"

"Welcome to the first Transit blog post of 2015! We thought we'd start the year off casually with a light-hearted quiz that combines two very different modes of storytelling ... the emoji and the feature film."

The AR narrative - show, don't tell. AR is almost impossible to tell someone about if they haven't seen it. The technology is getting better but AR is only just touching it's potential to create user value beyond the 'new and thrilling' factor. Helpful to see the range of applications and think about how AR can significantly impact/disrupt current behavior and support human goals while minimizing the physical burden of tech devices.

The implementation of the Augmented Reality tecnology in the architecture field present the possibility of changing for the best the way architects interact with their clients, allowing them to understand in a more compreenhensive way the building and the funiture they are paying for. This tecnology will also allow the client to take their house with them and present it to any friend or family, creating a feeling of affection for the build even before it is built.

Mathew Ingram: "Snapchat is a brand new and red-hot mobile app aimed at millennials, but it has a surprisingly old-fashioned media model — and that could help it take over as television becomes less appealing to advertisers" ...

Sarah Perez: "Late last week, news leaked that YouTube was poised to release a new, kid-friendly version of its YouTube service for mobile devices. Today, much to the delight of families everywhere, that app has now arrived, complete with a simplified design, a curated selection of kid-safe content, parental controls, and more."

Elvia Wilk: "True to its title, "Capture All," the program of this year's transmediale festival in Berlin was ambitiously panoramic, with such a marathon, round-the-clock schedule that by the last day a number of attendees had come down with the same cold" ...

Jessica Klein: "What do the words “indie web series” mean to you? You probably think small budget, few actors, and amateurs behind the scenes. With these assumptions, it might surprise you that some of the most unique, polished, talent-filled, and ultimately successful series on the web were created independently. Starting with little cash and virtually no built-in fan base, how did these indie series do it?"

Overall, people watch independent web series like Pretty, Brothers, and Be Here Nowish because, simply put, they’re good. Their success lies in the creators having a solid product from the beginning… but not nearly the kind of “solid,” ratings-guaranteed product that TV networks will sink their money into. Rather, independent web series need to target independent people. These ones all expertly navigated the line between wide appeal and niche audiences, gaining enthusiastic viewers and reviewers. If you want to do the same with your indie series, what you need is first some cash, then a solid pilot episode, an attractive web page, a social media presence, and a crowdfunding link. From there, people will tell you whether you’re good enough to grow or not.

James Whitbrook: "When a franchise is around for four decades, it can get impossibly unwieldy to try and grasp its lore — and Star Wars canon is no exception. Here's a guide to the origins of Star Wars Canon, the rise and fall of one of the most prominent Expanded Universes in fiction, and where the saga stands with Disney today."

Micah Van Hove: "It's rare to find a comedy series that has enough realism to keep you engaged with the characters and enough farce to keep you laughing. Enter High Maintenance -- the first-ever Vimeo Original web series."

"Look how Transparent, House of Cards, and Orange is the New Black are being critically lauded and scooping up all kinds of major awards. And rightfully so. It's just a sign of what's happening and what's to come. Vimeo, Netflix, Amazon, Hulu -- those guys -- they're going to continue to function as studios for people making digital content and then there will be all the people making stuff independently. It's going to keep increasing exponentially I think, as people become more and more comfortable viewing content online and as more and more people discover they don't have to wait for a TV executive to give them permission to make a show."

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